Artist Virginia Trembles’ “Blush Wall to Wall” opening at Magnet. Magnet Director Steve Gibsen with Trembles and the tylized homoerotic artwork on canbas and ceramic. Photo by Rink.

Virginia Trembles is thrilled to be presenting “Blush: Wall to Wall,” a solo exhibition of her current, rather pornographic paintings and ceramic plates during July at Magnet, the 18th and Market Street Castro hub for health and social well being. When asked about her bio, Trembles replied enigmatically: “I am a self-generating act of visual fiction. The material conversation with a persona is terrifically rich and amusing for me.” When probed further, she said, “Upon being asked to leave the Zen monastery of Mu Sang Sa in Seoul, South Korea, I was at a bit of a loose end.” She claims to have entered and become a finalist in The Annual Mongolian Cow Sour Yogurt Supergirl Contest. “The significant scholarship monies have since allowed me to travel quite freely internationally,” she told me. “With a recommendation from the painters McDermott and McGough, I took part in a much sought after apprenticeship that began with performance artist/transsexual Leslie Nelson near Princeton, New Jersey.” She extrapolated, “When the smoke finally cleared, I was able to complete my studies by participating in the highly publicized Vaseline installations of Robert Chamberlain, in a number of better motel rooms throughout upstate New York, and Connecticut.” So far, she seemed definitely amusing. With over 25 continuous years in the 12-step recovery movement; 21 years with HIV; 13 years living in New York City (including biking Times Square at rush hour on a daily basis); 10 years with AIDS; and sitting Zen for 10 years, she came to California “because I had no idea what a life out here would look like, and I wanted to know.” Her personal philosophy? “Take more risks. Say yes.” Her advice? “Be amused and be amusing. Laugh more.” She certainly made ME laugh!
She said she started making art “since I was wee; I have always colored outside the lines, and I hope to die with a crayon in my hand.” Speaking of her art, she said, “Tossing in my own drawings from life, the web, and printed media (especially the New York Times for some reason), images get jammed together in the most delightful ways and are mediated via my painting or ceramic materials.”

She said the ceramic plates are all under-glazed on the spur of the moment from a pre-selected pile of images in a do-it-yourself shop – “the kind where kids come to make Mother’s Day presents.” She noted that the staff is very kind, allowing her the privacy of a corner – “privacy taking up any of my finished plates for immediate placement in the kiln.” With a wicked laugh, she pointed out, “Many parents peeping over my shoulder recoil wide-eyed - a part of the process I particularly enjoy.” Mind you, these are hot, naked, very erect, fucking men on those plates. Corrections are not really possible, so she said there are lots of what she liked to call “not quites” that end up being broken up for tile work.

The erotic paintings are much more involved with the wood panels, collage elements, drawing/painting materials, and images - steeping together to get a final fresh result. They are visual/material conversations – “much like making a meal happens.”

When asked is there a message she wants to convey in her work, she said, “I’m very big on Camille Paglia’s quote (which I can’t remember at the moment) about anything having to do with the body is beautiful and amazing.” She added, “I embrace the prurient. I am so pleased that people do notice that all the figures in my work are enjoying themselves.” No kidding! “My work, if I can be so bold, is a visual and physical encounter,” she said. “I use empty thought balloons to signify the words, conversations, and commentary that are really in our culture - over emphasized embroidery to the experience.” She added cryptically, “No words to say; no lines to stop and start.”

Her favorite piece is “Even this? - Fountain of Youth.” She went on to say, “The enema play piece is pretty extreme for most venues, so I’m grateful to Magnet for being willing to show it.” She said, “In some aspects, a commentary on men of certain age who are fixated only on the young. Sometimes the reality of our dreams is not what we expect, and can we go with that?” Well, sure. She said it is a nice companion piece to the young guy watching a film in “Coming Soon,” lost or hypnotized in the watching, and missing the moment.

This is DEFINITELY erotic if not downright pornographic stuff! I love it!” I said, and then queried, “Who were your models? Did you DO any of them?

Maybe that’s TMI, but not for this nosy nun!” Apparently it was TMI, because she refused to comment. Not being mean. Just being her cryptic self. Go see this exhibit, but leave home the kiddies and the old codgers susceptible to stroke!